1,720,952 research outputs found
Aportaciones teóricas y prácticas sobre la sinestesia y las percepciones sonoras en la pintura contemporánea
Full text link[spa] Esta tesis analiza varios aspectos de la sinestesia en la pintura y la relación entre el oído y la visión en las artes. Tras describir la historia de la relación entre el sonido y la forma desde la filosofía órfica y las teorías pitagóricas, profundiza en los pensamientos de ciertos pensadores importantes (por ejemplo, Newton y Runge) sobre las correspondencias entre las notas musicales y los colores del arco iris o la rueda y la esfera de colores. Más adelante, la tesis estudia los mitos y conceptos de la espiritualidad relativos al sonido y el color que ejercieron gran influencia en muchos artistas del siglo XX, a través de escuelas de pensamiento como la teosofía y la psicología, estudiadas por pintores, músicos y filósofos importantes en la evolución de las artes a principios del siglo XX (por ejemplo, Goethe, Rudolf Steiner, Wassily Kandinsky, Arnold Schönberg y Henri Bergson). Seguidamente, se investiga la relación entre la música y la pintura basándonos en la correspondencia entre pintores y músicos (cual es el caso de Kandinsky, Schönberg, Cage y Johns), centrándose a continuación en distintos artistas interdisciplinarios (por ejemplo, Èiurlionis, Cage, Vladamir-Rossine y Russolo). A continuación se presenta la influencia de las percepciones sonoras y la sinestesia sobre la pintura en Europa y América, destacando las relaciones e influencias compartidas entre Europa y América en los pensamientos y el desarrollo de la pintura sinestésica sonora visual, y la relación entre el arte de la música y la pintura. La tesis hace un recorrido por la historia contemporánea de la pintura sinestésica occidental que expresa percepciones sonoras, y muestra que la relación entre la música y la pintura y el interés por estudiar, entender y expresar el mundo sinestésico en la pintura es una constante en la historia del arte contemporáneo. Explica y analiza estudios recientes de científicos que trabajan con el fenómeno de la sinestesia y vea la obra de importantes pintores recientes que son sinestetas, como David Hockney, Mark Safan y Carol Steen. El trabajo de investigación realizado permite sugerir que la sinestesia y la expresión artística es parte de la naturaleza humana y tiene mucho que ver con su evolución como especie. La conclusión es que la pintura tiene la facilidad de sacar las experiencias sinestésicas desde las profundidades del ser, sin importarle el nivel consciente o subconsciente de aquéllas; llevando tales experiencias a la conciencia del artista y a la materia del mundo a través de abstracciones y analogías simbólicas creadas en el acto de pintar.[eng] Theoretical and Practical Contributions of Synesthesia and Sound to Contemporary Painting. Doctoral thesis by Timothy B. Layden Directed by Doctor Domenec Corbella Llobet This thesis analyses how synesthesia and music have influenced the development of contemporary painting. It compares the historical and mythological roots of the visualization of Sound with contemporary arts, science and philosophy. It gives examples of works of some of the most important contemporary painters explaining their influences and interrelations with the poetry and painting of the last two centuries. It describes the most important links, authentic and contrived, between painting and audio-visual synesthesia, giving examples of poetic associative audio-visual synesthesia in the arts as well as examples of the artistic expressions inspired in the projected synesthesia of true synesthetes. Moreover it highlights the connection between synesthesia, artistic expression and subjectivity. It describes how music inspired the birth of abstract painting and how this influenced the development of numerous movements in modern art which have developed into post modern art and the movements of today, which flourish in subjectivity encouraging originality and individuality. Based on the above research and the synesthetic and artistic experience of the author the following conclusions are made: Synesthesia is fundamental to human experience. Synesthetic sensations are subjective, connected to emotion and memory, and often felt as intangible and ineffable, beyond the individual experiencing it; art is the most accurate way of communicating such experiences. Today freedom of expression thrives, giving us the ability to choose like never before. ethnic, cultural and religious interaction is a defining factor of each individual ethnicity, culture and religion making the ability to understand different points of view crucial for the development of society. Artists have an important role in communicating the deeper and subtler levels of life that give value to experience. Emotions, intuition and synesthetic perceptions, which inspire wonderful works of art and revelations in science, and motivate invention are more powerful than reason and logic. Art is part of human nature, it is where we can communicate more than the obvious, deeper than the surface and more explicitly than words. Its value is in how it opens eyes to new points of view, inspires creativity and influences change. Through artistic creativity and by being more aware of synesthetic aspects of experience we can participate more consciously and actively to involve ourselves in life's evolution, as individuals integrated with nature
Aportaciones teóricas y prácticas sobre la sinestesia y las percepciones sonoras en la pintura contemporánea
No full text[spa] Esta tesis analiza varios aspectos de la sinestesia en la pintura y la relación entre el oído y la visión en las artes. Tras describir la historia de la relación entre el sonido y la forma desde la filosofía órfica y las teorías pitagóricas, profundiza en los pensamientos de ciertos pensadores importantes (por ejemplo, Newton y Runge) sobre las correspondencias entre las notas musicales y los colores del arco iris o la rueda y la esfera de colores. Más adelante, la tesis estudia los mitos y conceptos de la espiritualidad relativos al sonido y el color que ejercieron gran influencia en muchos artistas del siglo XX, a través de escuelas de pensamiento como la teosofía y la psicología, estudiadas por pintores, músicos y filósofos importantes en la evolución de las artes a principios del siglo XX (por ejemplo, Goethe, Rudolf Steiner, Wassily Kandinsky, Arnold Schönberg y Henri Bergson). Seguidamente, se investiga la relación entre la música y la pintura basándonos en la correspondencia entre pintores y músicos (cual es el caso de Kandinsky, Schönberg, Cage y Johns), centrándose a continuación en distintos artistas interdisciplinarios (por ejemplo, Èiurlionis, Cage, Vladamir-Rossine y Russolo). A continuación se presenta la influencia de las percepciones sonoras y la sinestesia sobre la pintura en Europa y América, destacando las relaciones e influencias compartidas entre Europa y América en los pensamientos y el desarrollo de la pintura sinestésica sonora visual, y la relación entre el arte de la música y la pintura. La tesis hace un recorrido por la historia contemporánea de la pintura sinestésica occidental que expresa percepciones sonoras, y muestra que la relación entre la música y la pintura y el interés por estudiar, entender y expresar el mundo sinestésico en la pintura es una constante en la historia del arte contemporáneo. Explica y analiza estudios recientes de científicos que trabajan con el fenómeno de la sinestesia y vea la obra de importantes pintores recientes que son sinestetas, como David Hockney, Mark Safan y Carol Steen. El trabajo de investigación realizado permite sugerir que la sinestesia y la expresión artística es parte de la naturaleza humana y tiene mucho que ver con su evolución como especie. La conclusión es que la pintura tiene la facilidad de sacar las experiencias sinestésicas desde las profundidades del ser, sin importarle el nivel consciente o subconsciente de aquéllas; llevando tales experiencias a la conciencia del artista y a la materia del mundo a través de abstracciones y analogías simbólicas creadas en el acto de pintar.[eng] Theoretical and Practical Contributions of Synesthesia and Sound to Contemporary Painting. Doctoral thesis by Timothy B. Layden Directed by Doctor Domenec Corbella Llobet This thesis analyses how synesthesia and music have influenced the development of contemporary painting. It compares the historical and mythological roots of the visualization of Sound with contemporary arts, science and philosophy. It gives examples of works of some of the most important contemporary painters explaining their influences and interrelations with the poetry and painting of the last two centuries. It describes the most important links, authentic and contrived, between painting and audio-visual synesthesia, giving examples of poetic associative audio-visual synesthesia in the arts as well as examples of the artistic expressions inspired in the projected synesthesia of true synesthetes. Moreover it highlights the connection between synesthesia, artistic expression and subjectivity. It describes how music inspired the birth of abstract painting and how this influenced the development of numerous movements in modern art which have developed into post modern art and the movements of today, which flourish in subjectivity encouraging originality and individuality. Based on the above research and the synesthetic and artistic experience of the author the following conclusions are made: Synesthesia is fundamental to human experience. Synesthetic sensations are subjective, connected to emotion and memory, and often felt as intangible and ineffable, beyond the individual experiencing it; art is the most accurate way of communicating such experiences. Today freedom of expression thrives, giving us the ability to choose like never before. ethnic, cultural and religious interaction is a defining factor of each individual ethnicity, culture and religion making the ability to understand different points of view crucial for the development of society. Artists have an important role in communicating the deeper and subtler levels of life that give value to experience. Emotions, intuition and synesthetic perceptions, which inspire wonderful works of art and revelations in science, and motivate invention are more powerful than reason and logic. Art is part of human nature, it is where we can communicate more than the obvious, deeper than the surface and more explicitly than words. Its value is in how it opens eyes to new points of view, inspires creativity and influences change. Through artistic creativity and by being more aware of synesthetic aspects of experience we can participate more consciously and actively to involve ourselves in life's evolution, as individuals integrated with nature
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
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